And, surely, such a "desideratum" may best be effected by a careful
perusal of the manuals to be included in the present series. It is
incontestable that the reader of the following pages--apart from a
knowledge of the various musical forms, of orchestration, etc.--all of
which will be duly treated in successive volumes--will be in a better
position to appreciate the works of the several composers to which he
may be privileged to listen. The last essay, especially, will be read
with interest to-day, when we may hope to look forward to a cessation of
race-hatred and distrust, and to what a writer in the _Musical Times_
(September, 1914) has called, "a new sense of the emotional solidarity
of mankind. From that sense alone," he adds, "can the real music of the
future be born."
CLAUDE LANDI.
MUSICIANS OF TO-DAY
BERLIOZ
I
It may seem a paradox to say that no musician is so little known as
Berlioz. The world thinks it knows him. A noisy fame surrounds his
person and his work. Musical Europe has celebrated his centenary.
Germany disputes with France the glory of having nurtured and shaped his
genius. Russia, whose triumphal reception consoled him for the
indifference and enmity of Paris,[1] has said, through the voice of
Balakirew, that he was "the only musician France possessed.
Pages:
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25